고령 신씨 문중 초상화의 제작과 이모 -성재공파에 전승된 신용개, 신응구 및 신익상의 초상화를 중심으로

Abstract

The three portraits of the Goryeong Shin Clan depict Shin Yong-gae (1463–1519), Shin Eung-gu (1553–1623), and Shin Ik-sang (1634–1697), all of whom were high-ranking officials during the middle Joseon period. They are descendants of Shin Suk-ju (1417–1475), a renowned prime minister of early Joseon. This study reconstructs their lives and social achievements, exploring the circumstances under which the portraits were painted and the motivations behind their creation based on historical records of the portrait subjects. The official robe of Shin Yong-gae reflects the status of Ilpum, which is official rank 1. It is believed that this portrait was privately commissioned between 1516 and 1519, when he was appointed to Uuijeong (Vice Prime Minister). The portrait of Shin Eung-gu was created as an official portrait following his award of the title Iksa Gongshin, one of the four meritorious subject titles appointed in 1613. The portrait of Shin Ik-sang adopts a particular style of portraiture that was popular from the late 17th to early 18th centuries, featuring a tall official hat, a bright green robe, and a frontal gaze. His portrait is estimated to have been created after 1695. The portraits of the Goryeong Shin Clan are significant as they are rare examples of official portraits produced before the 18th century. However, an examination of the artistic expressions reveals that the three portraits simultaneously display artistic styles from the 17th and 18th centuries. Their artistic features suggest that they were reproduced after the 18th century. As seen in the case of the Goryeong Shin Clan, portraits of esteemed ancestors have been enshrined in ancestral halls, receiving veneration from their descendants for extended periods. Many of these portraits were reproduced in later generations. The significance of reproduced portraits has often been overlooked, leading to their exclusion from academic examination. However, the portraits of the Goryeong Shin Clan demonstrate that reproductions can fill gaps in the history of portraiture. These portraits serve as a reminder of the need for scholarly discussion regarding reproduced portraits.